Notes and Editorial Reviews

Marco Antonio Cavazzoni- private harpsichordist to the Duchess of Urbino and Pope Leo X, friend of Titian and Bembo- composed some of the most important milestones in the history of instrumental music. They were published in Venice by Vercellese (1523), the second edition of Italian keyboard music after that of Andrea Antico. Usually assigned to the organ, they are restored here to the harpsichord where they originally belonged, as explained in an online essay by Glen Wilson. Contemporary examples further illustrate the fascinating development of Cavazzoni’s major form, the ricercar. The project celebrates the 500th anniversary of the harpsichord on the cover ( the world’s oldest), which was owned by Leo X and undoubtedly played on byRead more Cavazzoni.

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REVIEW:

The American harpsichordist Glen Wilson makes out an impassioned case that Early Music, hijacked by organists, should be rightfully restored to the harpsichord. Here to cement that claim he performs Ricercars by Marco Antonio Cavazzoni and his contemporaries, played on that early keyboard instrument. Certainly music at that time among the elite of composers was advanced in its melodic creativity and technical content, as shown in the pieces played here. I particularly enjoyed the stately work by the French-born harpsichordist, Jacques Brunel, and the sound effects of Claudio Merulo whose life came at the end of this golden era. All of this information comes from the disc’s extensive notes by Glen Wilson, whose playing — as always — is a model of rectitude and clarity.